PART B: CRITERIA DESIGN LEXI GEORGE 835286
FIGURE 1
B.0. CHAKRA RESTRICTION & STRENGTH
THE CHAKRA The word Chakra “refers to wheels of energy throughout the body” which consists of seven different chakras altogether; red, orange, yellow, green, blue, indigo and purple. The chakras’ are an invisible energy which align with the “base of the spine to the crown of the head”1. These seven different energies are believed to “regulate all parts of your bodily system”1 which have an influence on your wellbeing, emotionally and physically. We must open our minds to all chakras to find balance within ourselves through the seven chakras. When one chakra is blocked, or imbalanced with the other chakras, one may experience physical and emotional hardship.
THE CROWN The crown chakra also know as Sahasrara, is the seventh Chakra; located at the crown of the head. The thousand-petal chakra can be associated with the colours white and purple. It is known to be a reciever and giver of energy and consciousness, and through it - you will be able to reach a higher state of awareness. When connecting with the crown chakra at a deeper level, one may be able to fulfil their highest potential. The ability to liberate your spirit - open the divine - whilst still being firmly rooted to the ground is a challenge of this chakra. Maintaining a balance of the crown chakra allows you to see your true self, however lacking it may cause a a loss of focus and direction in one self.
2
CONCEPTUALISATION
B.0. CHAKRA RESTRICTION & STRENGTH
MY STRENGTH & BLOCKAGE My blockage is being too afraid of facing incompletetion and dissapointment. As a result, I am constantly trying to perfect everything that i do - leaving me in a position where I am constantly questioning my ability and skills. Being a perfectionist is a gift within a curse - it forces me to aim high, work hard and never give up, however, perfecting something can be unending. I sometimes lack the ability to realise when perfection is no longer needed, leading to me over exhausting myself with work and pushing myself beyond my lifes to a point of breakage -- unhealthy for both the mind and the physical body.
MY COLLAGE My collage is about connecting the mind to the universe to overcome my blockage of being afriaf of disappointment. The vase is a representative of my physical and mental wellbeing that being a perfectionist has cause on me - trying to constantly be perfect has caused problems in my other areas of life, hence the cracks in the vase. The vase is floating above the clouds as I am amid connecting my mind to the universe however am not fully there yet as proven through my blockage. The crown chakra is also represented through the petals that hang upside down around the vase. The eyes closing is me mentally trying to accept my blockage as I believe that through accepting the imperfection will allow me to fully achieve a balnce of this chakra.
ADOBE COLOUR SCHEME
CONCEPTUALISATION 3
B.0. COLLAGE
4
CONCEPTUALISATION
CONCEPTUALISATION 5
B.1. RESEARCH FIELD - TEXT & IMAGES
SYSTEM: RAGAS The most straight forward definition of what a raga is, could be defined as a song. However, a raga is much more complex than just any song, as it is “a melodic structure with fixed notes and a set of rules that are maintained while playing the notes so that a certain emotion is evoked by the performance”. The set of rules that ragas follow are through the sequencing of notes as they are rendered in either ascent (aroh) or descent (awaroh). “While singing the raga, the specific note combinations are typical in a raga and by the way a particular note or a particular note combination is rendered it is quite possible to detemine whichr aga is rendered.” Focusing on Indian Classical music, ragas constitute of very particular combinations of tonic intervals that are meant to evoke distinct emotions. The focus of our system is ragas where we will study the action and reaction of two ragas of the sahasrara chakra, that belong to opposing categories in terms of time of day.
RAGAS & CHAKRAS Each chakra is often associated with a certain raga, which when being sung, a certain type of energy called Kundalini, helps to ctivate and nourish the chakra -- usually done through singing a specific raga. In this case, the crown chakra is strongly associated with Raga Bhairavi (morning raga) and Raga Darbari (late night raga). The araga is another type of energy that allows the chakra to maintain its optimum spin and balance, ensuring energy supply to different organs that are connected to the specific chakra. In this case, the crown chakra is most strongly connected to the pineal gland (located in the brain) which helps to oontrol sleep-wake cycles. The Ragas darbari (dabari kannada in carnatic) and bahairavi (sindhu bhairavi in carnatic) are helpful in prolonging the state of meditation and thoughtless awareness. the notes of these ragas help relax nd calm the emotionally related limbic area. The kundalini energy then soothese and nourishes the sagasrara chakra and the brain. This helps to achieve a state of self realisation and englishenment as the raga helps to relieve tension and depression -- creating peace within the self.
6
CONCEPTUALISATION
CHAKRA & RAGA DIAGRAM
A diagram illustrating the different chakras and the certain ragas that help to activate those chakras when sung at a certain time of day.
CHAKRA & MUSIC Not only does each chakra have its own association with a certain raga, but it also has a designated musical instrument -- generally associated with its nature. First Chakra (Muldhara Chakra) - Drums Second Chakra (Svadhishthana Chakra) - Wind instruments, Eg. Trumpets Third Chakra (Manipura Chakra) - Metallic sounds Fourth Chakra (Anahata Chakra) - Stringed instruments Fifth Chakra (Vishuddha Chakra) - Flute music, wind instruments, piano Sixth Chakra (Ajna Chakra) - Bells, Sounds of water, bird songs, subtle sounds Seventh Chakra ((Sahasrara Chakra) - Meditation, all other instruments put together
CONCEPTUALISATION 7
B.1. RESEARCH FIELD - DIAGRAMS
DESIGN PROCESS The two main ragas of the Crown chakra will be explored by looking at the notes that each rag is composed of and matching it to its frequency. We will then further our studies by exploring the timed loop of each raga is ascent and descent from 0-600 seconds -- to study the frequency of each note in a specified order. These frequencies will then be processed into graphical illustrations to produce a range of design and conceptuals for our design concept later on. The mood of each raga should reflect its action on the graph and the ragas are compared to draw attenteion tot he ‘balance’d ‘ nature of the crown chakra.
NOTATION TABLE WESTERN SYSTEM: INDIAN CLASSICAL SYSTEM:
8
C D E F G A B SA RE GA MA PA DHA NI
NOTE NAME
FULL NAME
NOTATION ID
Sa
Shadja
S
Re (Komol) Re (Shudh) Ga (Komal) Ga (Shudh)
Rishabha (Komal) Rishabha (Komal) Gandhaara (Komol) Gandhaara (Shudh)
r R g G
256 270 288 300
Minor Second Major Second Minor Third Major Third
Ma (Shudh) Ma (Teevra)
Madhyama (Shudh) Madhyama (Teevra)
m M
320 337
Pa Dha (Komal) Dha (Shudh) Ni (Komal) Ni (Shudh) Sa
Panchama (Shudh) Dhaivata (Komal) Dhaivata (Shudh) Nishaada (Komal) Nishaada Shadja
P d D n N S’
360 384 405 432 450 480
Perfect Fourth Augmented Fourth Perfect Fifth Minor Sixth Major Sixth Minor Seventh Major Seventh Octave
CONCEPTUALISATION
FR E Q U E N C I E S W E S T E R N (IF SA IS C) EQUIVALENT 240 Unison
B.1. RESEARCH FIELD - DIAGRAMS
RAGA NO.1 - BHAIRAVI When the raga bhairavi is performed, a pleasant sobering atmosphere full of love and piety is created, allowing one to feel close to the supreme. Raga bhairavi is extremely versatile in the genres of music as its melodic combinations can include all tweleve notes since it is described as an ocean of immense possibilities.
RAGA NO.2 - DARBARI The raga darbari is ideally sun at night time, typically closer to midnight. Due to the calmness and quietness of this hour, the composition of the darbari reflects the same melodic tune. When the raga is sung by a person who understands darbari, the effect that the raga creates is a soothing, lasting effect of calmness called rasanishpatti, seriousness filled with dedication and devotion. Naturall such environment reduces your stress.
ASCENT S 240 S 240
r 256 R 270
g 288
RAGA BHAIRAVI m P 320 360
d 384
n 432
S’ 480
g 288
RAGA DARBARI m P 320 360
d 384
n 432
S’ 480
d 384
RAGA BHAIRAVI P m 360 320
g 288
r 256
S 240
g 288
m 320
Exploring the notes of each raga through looking a their frequenciqes in ascent and descent which will later be produced in to graphs in this order.
DESCENT S’ 480 S’ 480
n 432 d 384
n 432
P 360
RAGA DARBARI m P 320 360
R 270
S 240
CONCEPTUALISATION 9
B.1. RESEARCH FIELD - DIAGRAMS
BHAIRAVI VS. DARBARI 600 500
Frequency
400 300 200 100 0
1
2
3
4
5
6
7
8
9
10
Seconds
0 SECS There is a similar acsent in the bhairavi and the darbari raga however the main difference is within the decent. The descent of the Bhairavi is more steady and smooth, however, the pattern of the darbarai is more staggered as the descent does not flow down as smoothly. 10 SECS
600 500
Frequency
400 300 200 100 0
1
5
9
13
17
21
25
29
Seconds 600 500
Frequency
400 300 200 100 0
1 4 7 10 13 16 19 22 25 28 31 34 37 40 43 46 49 52 55 58
Seconds 600 500
Frequency
400 300 200 100 0
1
51
101
151
201
251
Seconds 600 500
Frequency
400 300 200 100 0
1
101
201
301
401
Seconds
10
CONCEPTUALISATION
501
When the ragas are looped to 10 seconds, the waves appear to be ‘dancing’ in different directions. It creates a chaotic pattern however the two raga seems to balance out the shape through their frequencies. 30 SECS As the ragas are played out for a longer period of time, the pattern it forms looks almost like a chain. The descent of the darbari standing out from the others with its unique combination of notes with varying frequencies, yet still provides a calming sound. 60 SECS
The density of the chain shape expands as the raga lengthens, forming an almost solid looking form where the individual waves are almost unrecognisable. Due to the density, the chaotic pattern is more compacted, creating a sense of calmness. 300 SECS At this point the graph appears more like a thick line of colours as the four bodies of wave are densed pressed into each other, colliding much more frequntly yet providing the same visual and sound effect to the viewer/ listener. 600 SECS
B.1. RESEARCH FIELD - DIAGRAMS
SYSTEM DIAGRAM
The system diagram displays the crown chakra as the center of all things. From this crown chakra, two ragas were chosen through its association; the Bharavi and Darbari rags. These two chakras are sun at opposing times of days which create a balance like the ying and yang. Notes were then writte then laid out of each raga of ascent and descent which were transformed into graphs, looking at certain time intervals as part of the exploration. The shape of the system diagram is in a circle to represent the repetitiveness of the ragas as the notes are being played in a loop. Although tradtionally they are improvised when sung and have no specific order, by giving it a repetive order of all the notes here allows for a more accurate analysis of the relationship between the two rags through its frequency.
CONCEPTUALISATION 11
B.1. RESEARCH FIELD - TRANSLATE
SYSTEM MATRIX
12
CONCEPTUALISATION
B.1. RESEARCH FIELD - TRANSLATE
Planning our grasshopper design through the breakdown of the system diagram and identifying a system behaviour for each step that we want to visually create in our grasshopper design in the next step. Tools to explore on the Grasshopper program that we think would best achieve the system behaviour are suggested to experiment with. The grasshopper tool suggested may or may not work but this process is about experimentation and being able to plan out in advance what it is what are aiming to create.
CONCEPTUALISATION 13
B.1. RESEARCH FIELD - BUILD
PSEUDO CODE
14
CONCEPTUALISATION
B.1. RESEARCH FIELD - BUILD
The pseudo code was constructed through attempts in following the system matrix. The box was chosen as the starting point in reference to the initial topography. Then, it is broken up to singular point creating hundreds of design prospects to emerge from within the box. The process is repeated however we’ve added variables within this process such as geometry shape, quantity of size, amount, which allows the deisng to be altered; creating a variation of outcomes. The goal was to test different variables that could affect the varying outcome whilst follwing the planned behaviour of the system matrix. Although not every single step of the system matrix was incorporated, it was attempted and only the codes that worked well, were kept. The patterning of this geometry was restricted through the range and domain; it helped control the appearance of the egg form and is responsible for beaking up the consistency as well as size of the pattern. It reflects my bloackage of feeling the fear of incomplete and never reaching my full potential through the almost complete form of the egg, although it is broken, it is still beautiful, as is my blockage -- a gift within a curse.
CONCEPTUALISATION 15
B.1. RESEARCH FIELD - EXPERIMENT
50 ITERATIONS EXPLORATION Although the script incorportates many different ‘species’ and many different family members can be produced from them, the level of variation in shape is minimal. Although the script seems to support my blockage and has a connection to my system really well. Due to this, we have chosen to do further exploration in the choice of materials and how it impacts the appearance of the object. Materials explore include plaster, glass, gem, paint, and metal. The choice of materials has an overall affect on the forms transparancy, vibrance, reflectance, shine, density and levels of the appearance of spacing between broken skin geometry.
SEPERATION Z AXIS - MATERIAL: PLASTER
+5
+50
+75
+100
+125
SHAPE SIZE
+5
16
+25
CONCEPTUALISATION
+50
+100
+200
B.1. RESEARCH FIELD - EXPERIMENT
DOMAIN START - MATERIAL: METAL
+5
+50
+75
+100
+200
+25
+30
SEED - MATERIAL: PLASTIC
+10
+15
+20
SHAPE COUNT - PAINT
+5
+10
+50
+500
+1500
CONCEPTUALISATION 17
B.1. RESEARCH FIELD - EXPERIMENT
DOMAIN END
+0.1
+0.2
+0.5
+0.8
+1.2
TARGET DOMAIN
+5
+10
+25
+50
+70
GRAPH VARIABLE
+5
18
+10
CONCEPTUALISATION
+20
+30
+40
B.1. RESEARCH FIELD - EXPERIMENT
PLANES
+0.1
+0.3
+1
+2
+3
SEPERATION Y AXIS - MATERIAL: GEM
+5
+50
+75
+100
+125
CONCEPTUALISATION 19
B.1. RESEARCH FIELD - ANALYSIS
OPTION 1
Concept reflect the blockage through its form where it is almost complete but shattered. The spherical shape can be linked by the the chakra form. The various pieces that shatte represent the indivdual notes that create the sound wave of the raga but is overall is not obvious. There is no current function to the form or unique ways which the space can be used. Fabrication of this design is not possible for such an open surface model.
20
CONCEPTUALISATION
GRADING CRITERIA CONCEPT FUNCTION AESTHETICS FABRICATION
B.1. RESEARCH FIELD - ANALYSIS
OPTION 2 GRADING CRITERIA CONCEPT FUNCTION AESTHETICS FABRICATION The concept in this design is much clearer than the previous design due to the positioning of density and transparency of the form. The form appears most dense within the centre and more airy as it expands outwards, making a direct connection to the form of the frequency changes over periods of time explored earlier on. The range of scales of the sphere show the multiple frequencies dealt within the raga and takes us deep into the restrict and repeat strategy from the system matrix. Its aesthtics is neat and clear, the texture being bought out through the transparency of the form. Function and fabrication of the form is still not possible to due the multiple levitating pieces which is not compatible with the 3D printing conditions.
CONCEPTUALISATION 21
B.1. RESEARCH FIELD - ANALYSIS
OPTION 3
The design lacks concept as it looks like multiple spheres joined together much like a blob rather than a form that represents the frequencies. My blockage could be represented through this form like the the second option however is not as clear as the shatter effect of the sphere is not as extreme. Fabrication again is not feesable due to the multiple surfaces rather than solids. Although the function is undeterminded, it still lacks concept in which ways people can move through the form and use it.
22
CONCEPTUALISATION
GRADING CRITERIA CONCEPT FUNCTION AESTHETICS FABRICATION
B.1. RESEARCH FIELD - ANALYSIS
OPTION 4
Aesthitically the form is the most appealing of all four options due to the choice of colour, and materials as there is a nice reflective quality to the design . However, the design does not score well in its other grading criterias. The form is completely enclosed and does not allow for function, nor does this correspond to our system/ bloackage. Although its chaotic, massy, imperfect form can be considered the descending nature of the Darbari raga, it is not descriptive enough visually and in no way fabricationable with thousands of surfaces layered on top one another.he fabrication
GRADING CRITERIA CONCEPT FUNCTION AESTHETICS FABRICATION
CONCEPTUALISATION 23
B.1. RESEARCH FIELD - FURTHER EXPLORATIONS
EXPLORATION OF FREQUENCY CHARACTERISTICS ON GRASSHOPPER
10 SECS
30 SECS
60 SECS
300 SECS
600 SECS 24
CONCEPTUALISATION
0 SECS
The results of these iterations are similar to processed graphs of the frequencies of the ragas. Firs t of all, the pattern of theese iterations look almost like frequency sound waves. Secondy, when looking at the shape progression from 0 seconds to 600 seconds, the shape becomes less chaotic as it becomes denser -- forming a solid figure. The solid figure which appears to convey a more neutral feeling rather than calmness. However, the iterations at 0-10 seconds are the most interesting and best reflect the calmness that the ragas possess as the waves of the frequencies are more visible, looking almost as if they are dancing.
B.1. REFLECTION
REFLECTION “The design equivalent is the “satisficing” solution, which is often somewhat different from the original solution and meets goals that are somewhat different from the ones that were determined at the outset of the process.” The analysis of the system matrix allowed us to set design ‘goals’ in what we wanted to achieve in our algorithmic process, however our ‘original design solutions’ did not allow us to meet our goal and what we wanted to achieve. In turn, we looked at using other grasshopper commands which enabled us to achieve what we wanted even though what we wanted wasn’t exactly the outcome we were expecting in the beginning of the process. I think this is a huge part of algorithmic designing however can be challenging with my blockage as I am sometimes incapable of telling my self when enough is enough that I drift further from what I wanted to achieve right when I was already close.
For B1, we developed a script that was based on our blockage; it reflected the struggle between aiming high and aiming too high which leads to self doubt, and anxiety. Our goal was to begin developing our own script from the Grasshopper tools, exploring opportunities and opposibilities that came with constructing our own script.We particularly focused on the limited limits of parametric design. We worked towards designing an algorithm that demonstrates the behaviour of ascending and descending frequencies of the raga. Developing a script that is able to conceptualize our system behaviour and our blockage is a challenge we are facing and will continue to work towards over the next coming weeks.
CONCEPTUALISATION 25
B.2. CASE STUDY 1.0
26
CONCEPTUALISATION
B.2. CASE STUDY 1.0
ESKENAZI HOSPITAL PARKING/ URBANA ARCHITECTURE/ INDIANAPOLIS The Eskenazi hospital parking is an interactive synthetic terrain, designed to create unique visual experiences depending on the viewer’s vantage point as well as the pace they are moving through the site. The facade was created using computational design to locate and angle the 7,000 metal panels to create the dynamic facade that changes from yellow to charcoal. It has been so far one of the most capitvating project that was presented in the lecture as I was intriged not only by the form that was produced but by the thought process. The idea of having an interactive facade that was inspired by its location of the corn fields in Indiana, has made me want to create deisgn that does the same. This is because meaning is created within your design to the people in the area bringing together “the state of the world and the state of design” which is what design should be doing according to the Design Futuring reading, and i think that this is one of many ways to achieve this.
Further more, computational design and the inspiration of cornfields have been used as an intellectual framework for the design of this building. “Without an intellectual framework, it is difficult to advance the practice of critical design”, as lots of projects are just a repetition of previous work so in order to advance further, designers need “a criteria that make it possible to advance this form of design through reflection and critique or at least get a sense of how the area can be refined”. By creating a framework to design within, this will help create a more guided, meaningful and unique design; hence having the focus of the raga system and the frequencies of the raga as our part of our framework. One other reason why this design has been chosen as a precedent is because the “movement” and “flow” of the facade looks almost like sound waves which is a concept we want to continue to explore for B2. Its overall shape and form directly links to our concept which we can try to incorporate in our next exploration, however need to figure out how we will present our blockage through this form. CONCEPTUALISATION 27
B.2. CASE STUDY 1.0
NO. PANELS Y AXIS
+1
+5
+50
+100
+50
+100
+200
NO. PANELS X AXIS
+1
+5
+200
CONTROLS OF LINE MOVEMENT
+250
28
+500
CONCEPTUALISATION
+750
+1000
+2000
B.2. CASE STUDY 1.0
CONTROL POINTS OF THE “DO NOT DISTURB” LINE
+10
+30
+60
+90
+120
CONTROLS OF LINE MOVEMENT
+5
+10
+15
+20
+25
+3
+4
+5
VERTACIES REFINEMENT
+1
+2
CONCEPTUALISATION 29
B.2. CASE STUDY 1.0
OPTION 1 GRADING CRITERIA CONCEPT FUNCTION AESTHETICS FABRICATION The concept of this iteration is strong as the form of this iteration looks almost like a soundwave. The smooth panels in of the form represent the bhavari raga and the more chaotic panels are the darbhari raga. My blockage is represented through the imperfectness of the panels as there is mix of both however overall looks appealing which connects to the concept of ‘gift within a curse’. The form looks quite similar to the precedent at the beginning on B2 hence having scored a lowe score in terms of aesthetic as it lacks originality. Furthermore, it is not a good design to fabricate on the 3D printer as again, there are too many surfaces and the surfaces are too thin and will require too many support structures.
VIEW PORTS
TOP VIEW 30
CONCEPTUALISATION
SIDE VIEW
FRONT VIEW
B.2. CASE STUDY 1.0
OPTION 2 GRADING CRITERIA CONCEPT FUNCTION AESTHETICS FABRICATION The concept isn’t the most clear however the bhavari raga could be represented through the bigger planes as it is less chaotic, whereas the darbhari raga could be presented with the more chaotic form that is interwinded with the bharvari forms. Form is not functional although aesthically a lot more interesting than others. Similar could be said for the fabrication process as the form is a lot easier to fabricate compared to others as there are larger planes for other panels so sit on, however is still not ideal.
VIEW PORTS
TOP VIEW
SIDE VIEW
FRONT VIEW
CONCEPTUALISATION 31
B.2. CASE STUDY 1.0
OPTION 3 GRADING CRITERIA CONCEPT FUNCTION AESTHETICS FABRICATION Concept is not strong although the pointiness of the triangles could said to be the different frequencies of the notes. Aesthically its form is much more unqiue than the other iterations but not the emotion conveyed through the form is not the most calming which defeats its function. This space could function as a meditation space however this form does not provide a unique function in terms of meditation as any space could be use for meditation. Fabrication would be easier compared to the other designs however not at all idea with the multiple surfaces. This would affect the printing process time and each piece may need to be printed individually and manually assembled.
VIEW PORTS
TOP VIEW 32
CONCEPTUALISATION
SIDE VIEW
FRONT VIEW
B.2. CASE STUDY 1.0
OPTION 4 GRADING CRITERIA CONCEPT FUNCTION AESTHETICS FABRICATION The form has seven different channels to it which conceptually links the the chakra however does not demonstate the relationship between the bhavari and dabharvi through its frequencies. It is a nice looking form and would make be made interesting with the addition of sunlight throughout the day, but overall not the most interesting design. This form could be use for meditative purposes providing certain areas with shade during different times of day however is not the most unique form for its function. Fabrication possibly is easier than the previous but still not ideal.
VIEW PORTS
TOP VIEW
SIDE VIEW
FRONT VIEW
CONCEPTUALISATION 33
B.2. CASE STUDY 1.0
REFLECTION
34
By taking a already written script and playing around with what the different variables control, it expanded my understanding of algorithmic design as I was able to recognise the flexibility of manip-
The qualities that this script has is its ability to change and move about the panels of the design to achieve different visuals. Depending on what effect is aimed for, the louves can be adjusted
ulating a script. This led us to experimenting with several different scripts that were not a part of this section.
to create a flowy move ment into a chaotic state or it could be in a single state without the other.
The script that we created for B2 replicates floating and rotating louvers. the design potential for these lourves could possibly be turned into a responsive facade. Possibly a shading device that responds to the positioning of the sun (architectural application). We settled on this script instead of the other ones as we felt that there is a connection between the ways the lourves rotate and turn, which looks almost like sound wave frequencies traveling through water.
When creating the different iterations, we were not trying to create anything in particular but tried to stay open minded to the possibilities that the script had to offer. I think for further progression next time we should try combinding two scripts together to see what outcomes it would produce.
CONCEPTUALISATION
CONCEPTUALISATION 35
36
CONCEPTUALISATION
B.3. INTRODUCE PROJECT
AL BAHAR TOWER/ AEDAS ARCHITECTS/ ABU DHABI
The Al Bahar Tower is the world’s largest building to have a sun responsive facade. The facade was influenced from traditional Arabian architecture through the “Masgrabiya” lattice shading device; where a similar concept has been applied to the design of the facade. Aedas architects used computational design to develop the geometry for the facade panels. The purpose was to simulate the movement of the panels in response to sun exposure and varying angles through different days of the year. This demonstrates the architects “thinking through design rather than through words and using the language and structure of design to engage people”. This concept is important in achieving a functional design which needs to be considered in the the rest of our designs from B3 onwards.
Design furturing mentions the “exploration of how thignscome into being and act beyond their mere function as material or imaterial objects”. This is another important concept that has been applied in the Al Bahar design and needs to be considered when we experiment with our own. What it means, is to make sure everything being used has a purpose, the material is chosen for a reason and serves a function other than to ‘look good’. For instance referring back to the B2 iterations, the meditative space as a function is workable, however any space can be used for meditation; to develop this further, we could think about what design aspects of our form serves more than a meditative space or what the users could gain from using the space other than meditation where they cant find anywhere else.
CONCEPTUALISATION 37
B.3. REVERSE ENGINEER
PSEUDO CODE
38
CONCEPTUALISATION
B.3. REVERSE ENGINEER
CONCEPTUALISATION 39
B.3. PROCESS
DESIGN PROGRESS OF FACADE
Hexagonal grid
Triangular Formation
Responsive Geometries
DEADENDS
Multiple attempts in trying to connect the responsive skin that was created to a 3D geomtry, in this case the cylinder looking form however was contantly hitting dead ends and was not able to figure out a
RESPONSIVE NATURE OF FACADE
Direction of attarction points up 40
CONCEPTUALISATION
Direction of attraction point is down
B.3. PROCESS
Responsive Facade
a solution, even with assistant from other peers.
CONCEPTUALISATION 41
B.3. FINAL OUTCOME
FINAL OUTCOME The design intent behind B3 was to explore an existing precedent that uses coputational design in its design process; and to attempt to recreate it on our own using the knowledge that we have on grasshopper. By doing this, we are “researching by design”, meaning we are “relying upon the scripting of algorithms as a medium for research-base experimental design” which is strongly encouraged in this design generation. This way of researching has proven to be successful as “many of the leading architectural and structural engineering practices..form their own internal multidiciplary research units that developed expertise in exploiting computational geometry in the mediated generation and analysis”.
42
CONCEPTUALISATION
If we were unconstained by the original form, I think we wouldn’t have been so fixated on wrapping the responsive skin around a solid geometry and would have tried developing the actual responsive skin to look more unique; possibly by dividing up the hexagon to even smaller sections or beginning with a different geometry in the first place. This definition was overall very interesting to work with as it has taught us how to create a responsive facade. We really love the idea of this and want to try incorporating a responsive skin of some sort of way in our next exploration in B4. Possibly experiment with combinding this definition with our B1 definition and see whether or not something interesting comes out of it.
B.3. REFLECTION
SIMILARITIES Our grasshopper skin design seemed to have almost matched the Al Bahar building skin. The geometry look fairly similar although cannot gaurantee it is 100% accurate. The responsive nature of the facade is definetly visible in our design however does not respond to the direction of the sun but more so a singular point that is placed on the skin.
DIFFERENCES The main and most obvious difference between the Al Bahar and our Grasshopper iteration is that our design is missing a tall cylindrical form where the responsive facade wraps around. We have tried multiple times in trying to wrap this facade around a surface but was not able to come to a solution.
CONCEPTUALISATION 43
B.4. DIAGRAMS MORE IN DEPTH
FUNCTION RESEARCH - TEMPLES Temples are a sacrid place of worship, usually for prayer and or sacrifise. It’s function also serves as a place of self-reflection or meditation. These functional aspects of temples, will be applied and promoted though our design along with music and ecological development. The two chosen precedents are of different types of temples in two different countries. The first (top photo) is of the Kukulcan Pyramid located in Chicen Itza, and the second (bottom photo) is of the Prambanan temple located in Indonesia. Both temples were built for different purposes and vary slightly in use, however we want to focus on it’s physical form.
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Its form comprises of large masses stacked upon one another. It incorporates levels stepping downwards which increases in surface area. Furthermore, there is a sense of heirachy and symmetry. The structures rise up into the sky, but touches the natural ground; giving a sense of grounding yet rising into infinite possibilities much like the crown chakra. The second focus of these precedents will be on the location of the temples. Both are positioned in an open land and surrounded by natural enrivonment. The natural environment allows the place of worship to be deeply rooted to nature and deliver a sense of calmness when in the place of prayer. This same concept is what I am looking to achieve in the design of my structure.
CONCEPTUALISATION 45
B.4. TRANSLATE
SYSTEM MATRIX REDEFINED
The system matrix from B1 has been revised and redefined for the development of the next design. The system diagrams and system behaviour remain the same as we want to achieve similar outcomes in our next design -we want to demonstrate the progression of our system, however this time in a more complex manner being able to develop it enough to add a funtion and clearly see the context of the system and our blockage. We have provided grasshopper tools that we think would best help achieve our results and are some tools we want to explore in conjunction with one another.
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B.4. TRANSLATE
CONCEPTUALISATION 47
B.4. BUILD
PSEUDO CODE
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B.4. BUILD
CONCEPTUALISATION 49
B.4. EXPERIMENT
TYPOGRAPHY 2D EXPLORATION
GRAPH 1- 0 SECS
GRAPH 2 - 10 SECS
GRAPH 3 - 30 SECS
GRAPH 4 - 300 SECS
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B.4. EXPERIMENT
“If raga is a space, it is not an empty space, or a set of equal points. Ragas serve as flexible but stable topographies that singers explore through both melodic and gestural action. Singers explore this space of a raga in the physical space around their body. Singers explore this space while leborating melodies, moving through particular regions via particular melodic paths, with particular textures and topographies� The chosen typography that we will focus on is the crown chakra; the detailed mapping of a specific area. In our experimentation, we decided to explore the connection between the nature of the frequency graphs and the crown chakra topography. Four graphs were explored in this section, the times of the raga which rage between 0-300 seconds. the fifth graph that goes to 600 seconds has been left out as it lacks significant alterations in the 2D geometry as it appears the exact same as the result from graph 1 however in a larger scale.
CONCEPTUALISATION 51
B.4. EXPERIMENT - 3D EXPLORATION
GRAPH 1 - 0 SEC
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GRAPH 2 - 30 SEC
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+5
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B.4. EXPERIMENT - 3D EXPLORATION
GRAPH 4 - 300 SEC
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GRAPH 5 - 600 SEC
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In this section, the Bhaivari raga was explored in connection to the crown chakra topography -- however in 3D form. Multiple alterations were created and altered through the time of the raga. The results vary drastically from one another giving a wide choice of selection of designs to be chosen from. The smooth nature of the Bhavari frequency are reflected through the shapes of these iterations as they appear to have a smooth yet continuous form to them all.
CONCEPTUALISATION 53
B.4. EXPERIMENT - 3D EXPLORATION
GRAPH 1 - 0 SEC
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B.4. EXPERIMENT - 3D EXPLORATION
GRAPH 4 - 300 SEC
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This second half of the exploration are of the darbhari raga. The night time rag where its frequency staggers a bit more in comparison to the Bhavari rag. The nature of the darbhari rag seems to be reflected through some of these forms, particularly forms that have a sense of levels or layers within them. The same variables were kept consistent in this exploration to the Bhavari exploration, with the exception of the frequency. By exploring the darbhari and bharvari ragas indivudally, it allows for a more accurate iteration of each individual rag which will help us further understand the form that they produce individually before combinding the two for our final proposal.
CONCEPTUALISATION 55
B.4. ANALYSIS
BHARVARI OPTION 1
The design of this form is strongly connected to our raga concept, in particularly the bharvari rag as it’s frequency flows smoothly like the form. Furthermore, there is a sense of repetitiveness through the loops of the form and the continuity of the lines which is not only connected to the rag concept but my blockage; in this case this form represents the strength that comes out of my blockage which being a perfection can create beautiful forms. Functionally it does not work well as a meditative space but more of an interactive space for climbing possibly. Aesthically it has a beautiful form and we are very proud of this result.
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There may be an issue with fabrication due to the way the form stands up and due to the thinness of the shape which will have to be further explored in the next stage.
GRADING CRITERIA CONCEPT FUNCTION AESTHETICS FABRICATION
B.4. ANALYSIS
BHARVARI OPTION 2
Concept is strongly represented through the repetitiveness of the shape that gradually shifts every layer; this theorically could look like the sound frequencies of the bharvari rag. There is a sense of perfection and imperection to the form, the imperfection being it is not a 100% symmetrical shape, however it is still aesthically pleasing -- conceptually linking back to my blockage of a gift within a curse. Functionally again is difficult to give purpose to as it is more of a form rather than a space. Fabrication will be difficult as well as there are multiple thin lines staggered in ways which may require a lot of extra material support.
GRADING CRITERIA CONCEPT FUNCTION AESTHETICS FABRICATION CONCEPTUALISATION 57
B.4. ANALYSIS
DARBHARI OPTION 1
The design speaks to the darbhari raga due to the staggering layers of the form that correlate to the static frequency that the notes of this rag produces. In terms of my blockage, this represents me always striving for more hence the expanding platforms that rise up to the sky which is allowing me to achieve a balance of the crown chakra however the challenge is to know when the limit is as this form has the ability to continue on forever. Functionality gives more space and opportunities for people to move around the space. The movement through the space could be through the spiral that travels down the center of the form. Aesthically looks very interesting as most temples or pyramids have the point up, however the opposing design intrigs me.
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Fabrication does not seem like there will be many issues as the form is quite flat already, however will probably need to be printed the other way around with the largest part of the model as the base for printing.
GRADING CRITERIA CONCEPT FUNCTION AESTHETICS FABRICATION
B.4. ANALYSIS
DARBHARI OPTION 2
The shape of the design has a frequency-like shape similar to the darbhari rag; this regsonates with the system very strongly however does not do the same with my blockage. Functionally the form creates interesting spaces within the design; the staggering shape allows for an interesting way people move through the form; - possibly by climbing up and sliding downwards. Aesthically a unique and attractive looking form that would draw attention to many people to come look at. Fabrication may be difficult as the form looks rather complicated to print using the 3D printer.
GRADING CRITERIA CONCEPT FUNCTION AESTHETICS FABRICATION CONCEPTUALISATION 59
B.4. PROPOSAL
MATERIAL EXPLORATION
PAINT & GLASS
PLASTER & GLASS
METAL & PAINT
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B.4. PROPOSAL
MATERIAL EXPLORATION
PLASTIC & GEM
PLASTIC & GEM
In this section we have experimented with the use of materials. We decided to test out different materials on our model to see how it changes its final results. We mixed and matched the following materials for the various outcomes; metal, plastic, gem, plaster, glass and paint. Depending on the types of material chosen, the opacity and reflectivity changes which alters the overall impression of the design. Personally I really like to opaquness of the outer shell with a more solid form inside. At this point we are just experimenting to make a decision on our final design proposal later on. CONCEPTUALISATION 61
B.4. ANALYSIS
FINAL DESIGN
Building two designs seperately that focuses on each of the Crown chakra’s raga has helped me better understand the behaviour and form of the two. The two design will be combined to help portray the crown chakra through their behaviour of the rags which has been the focus of our concept. A symbol of night and day, combinding together to create something even more beautiful; involving the beauty of the star constellations and sunlight wavelengths with a charm and purpose.
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The upwards shape is taken on through the characteristics of a raga, as the notes rise and falls throughout every raga. The form of the rising steps take influence from traditional temples. The design purpose being a multi-storey park in a inverted temple form; metaphorically means to find the divine within yourself instead of looking for its outside in statues and temples and writing. This divine is what will help me overcome my blockage as I find my inner being of being self content in what I do.
B.4. ANALYSIS
REFLECTION For B4, we adopted the behaviour of algorithmic thinking, and incorporated it in the making of our design. We developed design potentials based on the bhavari raga and the darbari raga and will possibly combine the two for our final proposal. By combinding the two, it helps to develop a stronger concept as it displays the interaction of the two raga. We have created a set of design criteria in B1 which we consistently used to evaluate each of our chosen designs all the way through to B4. The criteria consisted of evlauting the design based on its concept, function, aesthetic and fabrication ability. The criteria allowed us to stay focus towards achieve a design that best suits our needs. The next step would be writing out a design specification that is more specific to the concept, the location and the function. Our process for B4 aimed to develop our algorithm from B1. Although this was the intent, we did make changed to the script directly but rather we took parts of the B1 script to incorporate it into our new script. B4 is a development further from B1, B2, and B3 as we begin to think about more than just the design, but having more of an empahsis on the other aspects such as location.
CONCEPTUALISATION 63
B.5. 3D PRINTING PROCESS
INITIAL PROCESS
1. Booked training class through LMS on March 26th, Week 5
2. Watch FabLab Powder Printer Introductions and Function Tutorials
3. Build concept fo Grasshopper, Bake t
RESULTS
3. SUBMIT!
1. Recieved an error in file two days later after submission
2. Closed off singular surfaces, and separated in two. Submit to different printer due to long queue at Fablab.
ALTERNATIVE SOLUTION
1. Booked 3D Printing consultation at the Fablab
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2. Found that there is a problem with the basic structure of script. Frequency graph used are too complexed for practical 3D printing
3. Managed to however requi and “loft” comm
B.5. 3D PRINTING PROCESS
5.SUBMIT!
or final proposal on through to Rhino file
4. Arrange model as per Fablab 3D printing terms and conditions. (Scale to fit inside 255x205x205 template, with minimum 2mm thickness, and closed surfaces)
4. Tried another 3D print company (United Make). Unsuccessful again.
o closed the polysurfaces, ired eliminating “mirror� mands to create a solid
4. Getting rid of loft has changed the entire look of the model. But this is sufficient for representation purposes
5. SUBMIT!
CONCEPTUALISATION 65
B.5. RESULTS/ ANALYSIS/ DOCUMENTATION
FINAL OUTCOME Our final outcome was not quite what expected from the beginning of the process. There was so many issues regarding our design that it did not fit the criteria of the 3D printing, resulting in simplifying the model altogehter to be able to have something printed on time for submission. Our model in the end, not quite satisfying any of our design specifications that we set out earlier in B4.
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We only ended up printing half of the darbhari form that we have designed; this is due to the shape of the form as it lacks balance. As for the Bharvari form, this was not printed at all as the 3D printer is not able to print such fine lines. We need to figure out a way for our next print to make sure that our lines are more integrated into the model rather than wraping around it -- this will ensure a much more 3D-printer friendly design. As for our successes, we managed to get something printed on time for our submission which we are very happy about. We are glad we came across all these issues now rather than later and learnt the limitations that 3D printing has for future use.
B.5. RESULTS/ ANALYSIS/ DOCUMENTATION
The prototype overall looks a bit rough, its surfaces weren’t as smooth as we’d like and this might be due to the complexity of the design. We are considering reducing the numbr of levels tapering in our design in the future. The 3D printer also ended up printing a lot of ‘support structures’ which enabled our model to hold together. I believe that if we made sure our model was self sufficient without these supports in the beginning, the printing results would have turned out a lot smoother; possibly next time making the whole shape a solide instead of having hollow bits inside.
CONCEPTUALISATION 67
B.6. DESIGN PROPOSAL
FINAL PROPOSAL The chosen site is situated in Merri Creek Trail. The location is percisely at the corner of the Yarra Bend Park, next to the creek running through the land. The reason we have chosen this site is to link our version of a temple to the more traditional ones through its location. As mentioned before, many temples are located in vast open natural lands to demonstrate its connection to the land and nature. It openness of the space offers a welcoming precense to the space. It is clear in sight and has accessible view to the urban as well as Melbourne green gardens. The function of the architectural space is a multistorey park that is accessible to all with a 360 degree view into the land.
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B.6. DESIGN PROPOSAL
SECTION CUT
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SCALE 1:100 CONCEPTUALISATION 71
B.6. DESIGN PROPOSAL
PLAN VIEW
SCALE 1:50 DESIGN SPECIFICATION 1. Needs to have a connection to the land and environment 2. Must reflect their merge of our raga system in some theoretical or physical form 3. Space must respond to our blockage 4. needs to be able to hold at least 30 people 5. Needs to have a sitting place 6. Final material should be plaster and metal 7. Design must be aesthetically pleasing 72
CONCEPTUALISATION
B.6. DESIGN PROPOSAL
DESIGN PROPOSAL Combinding spirituality with practicality is a critical way of designing by taking an abstract natural system and apply it to a functional build. This design explores abstract concepts such as the frequencies of the two ragas of the crown chakra, in attempts to deliver new ideas of viewing architectural design.
FORM
FUNCTION
The inner structure is composed by a cosine curve which is a representation of raga Darbari. The frequencies of the darbari rag is staggers, a chaotic flow which has been reflected on the physical surface with the unevenness of the pyramid structure. The surface area is dependant on the height, symbolising the number of frequencies; the higher frequency as the notes are sung higher.
We are proposing a desing for a multistorey park which preseves rare plants, grows vegetables to sell locally to promote local produce. There will be spaces of retreat, an opportunity to experience a park above ground that over looks Melbourne CBD and its outskirts. There will be gardens for kids with playground equipment and various different areas made specifically for meditation. For example a whole floor dedicated to meditating on your back where the ceiling is transparent allowing you to feel closer to the universe.
As for raga bharavi, it has a much smoother, softer frequency which is reflected upon the ‘flow’ of the form wraping around the inner structure to contain its chaos. Our form is about the balancing of our chakra through the ragas, working together to create unity as one. The concept extends to the connection to the land due to its temple like form. By having a form that is being extruded up towards the universe yet still being grounded to nature, it is a reflection of the crown chakra. The concept still needs further development.Things to consider: What if the other form does not control the inner one? What is if it merges with the chaos, rebelling, disobediantly, acting against its natural course and adapting smoothly to the environment it is presented?
Developing a space that is sustainable and promotes a healthy life style both mentally and physically is an attempt to create balance in the ecosystem around urban areas like Melbourne. The function also related back to the temple precedents as this is a more modern, localised form of temple that is catered towards people in that area.
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EXPERIENCE DIAGRAM 1.1
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EXPERIENCE DIAGRAM 1.2
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EXPERIENCE DIAGRAM 1.3
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EXPERIENCE DIAGRAM 1.4
CONCEPTUALISATION 81
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B.7.LEARNING OBJECTIVES & OUTCOMES
LEARNING OBJECTIVES & OUTCOMES PART B I am astound by how much I have learnt over the past four weeks in Studio air for Part B. The skills that I have taken up so far goes beyond algorithmic design. I was able to become more familiar with the narrative of the non-linear approach to the design process which will assist me in being able to re-evaluate outcomes and reapproach them when appropriate or neccessary; which could be applied to other situations in life as well. The most important thing I learnt about working in partners is to be able to acknowledge each other’s strengths, weaknesses and circumstances. Being understanding of one another and trusting them. I believe that Shubi and I make great team dispite our personalities clashing every now and then; we both face the same blockage which I found got in the way at times but once we put everything aside and tried to help each other through it, we were coming up with incredible ideas and work. At the start of Part B I was very doubtful of the system we have chosen to work with as I felt a lack of personal connection and understanding which I feared would get in the way of me being able to critically analyse things and make it personal.
However, this wasnt the case after doing plenty of research and with the help of my partner to better understand the system -- I now feel deeply connected the ragas and chakra which I believe is reflected through the quality of our work. I had to learn to find my own resognation with the system and with a new chakra through the process of designing which was challenging but I managed and am very proud of all the work my partner and I have completed. It was beyond what I had expected and although we have a few areas in regards to our proposal to strengthen, overall I am happy at where we are at and excited to see what we will develop in Part C. I feel that with this subject I am constantly learning how to problem solve as each problem that arises is new and require different solutions. It can be draining but where is the fun in work without a challenge?. I found that the resources on lms such as the online tutorials have helped in developing my algorithmic design skills, as did the videos available on YouTube. The grasshopper online forums actually helped me solved a bunch of issues I had with my design which was surprising. I really enjoy the readings on lms as they are relate to what we do in our assignments so I feel that it helps me think critically about what I am doing and why I should do it as they are equally important to your final outcome.
CONCEPTUALISATION 83
B.8. APPENDIX & ALGORITHMIC SKETCHES
REFERENCES “AL BAHAR TOWERS RESPONSIVE FACADE / AEDAS”. 2018. ARCHDAILY <HTTPS://WWW.ARCHDAILY.COM/270592/ AL-BAHAR-TOWERS-RESPONSIVE-FACADE-AEDAS> [ACCESSED 13 APRIL 2018] “CROWN CHAKRA - SAHASRARA”. 2018. BALANCECHAKRA.COM <HTTP://BALANCECHAKRA.COM/?CATEGORYID=548&ARTICLEID=821> [ACCESSED 15 APRIL 2018] “CROWN CHAKRA - SAHASRARA”. 2018. CHAKRA ANATOMY <HTTP://WWW.CHAKRA-ANATOMY.COM/CROWN-CHAKRA.HTML> [ACCESSED 13 APRIL 2018] DUNNE, ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45 “DYNAMIC FACADE SYSTEM AT ESKENAZI HOSPITAL, INDIANAPOLIS BY URBANA ARCHITECTURE”. 2018. DESIGNBOOM | ARCHITECTURE & DESIGN MAGAZINE <HTTPS://WWW. DESIGNBOOM.COM/ARCHITECTURE/DYNAMIC-FACADE-SYSTEM-ESKENAZI-HOSPITAL-INDIANAPOLIS-URBANA-ARCHITECTURE-07-27-2014/> [ACCESSED 14 APRIL 2018] FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16 ISSA, RAJAA ‘ESSENTIAL MATHEMATICS FOR COMPUTATIONAL DESIGN’, SECOND EDITION, ROBERT MCNEEL AND ASSOCIATES, PP 1 - 42 KALAY, YEHUDA E. (2004). ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS), PP. 5-25 OXMAN, RIVKA AND ROBERT OXMAN, EDS (2014). THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE), PP. 1–10 “RAGA | INDIAN MUSICAL GENRE”. 2018. ENCYCLOPEDIA BRITANNICA <HTTPS://WWW.BRITANNICA.COM/ART/RAGA> [ACCESSED 14 APRIL 2018] “RAGAS : RAGA SURABHI - RAGA IDENTIFICATION MADE EASY!”. 2018. RAGASURABHI.COM <HTTP://WWW. RAGASURABHI.COM/CARNATIC-MUSIC/RAGAS.HTML> [ACCESSED 14 APRIL 2018]
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B.8. APPENDIX & ALGORITHMIC SKETCHES
CONCEPTUALISATION 85